Inigo (Ignatius de Loyola) begins as a hot-headed, street-fighting sensualist, in this action-packed play but due to serious injury in a sword-fight, he has to spend time recovering and reassessing his dissolute life. This stage version of his life follows his transformation to become the co-founder of the Jesuits in the sixteenth century, battling the powers of the day and the Inquisition. In Moore's bold, funny play, he asserts Inigo's position as a radical figure bent on changing the Catholic Church.?? This play is not only for those interested in Inigo and the Jesuits. It is also about individuals who fight for change against an implacable Establishment and it is ideal for performing in schools, colleges and theatres. Of special interest to schools and colleges, many of which are named after Inigo (Ignatius de Loyola).?Inigo's spiritual tools for change have informed other self-development programs such as the 12 step program for recovering drug and alcohol addicts. As Pope Francis is a Jesuit, this is a timely exploration of one of history's major spiritual leaders and reformers. "This is the most interesting play text to have reached me for a while... Ignatius of Loyala, founder of the Jesuits is not the most obvious choice for a play subject until you remember that he was effectively a counter-cultural radical fighting an implacable establishment suddenly it s both topical and relevant. I hope this thoughtful, engaging and very funny in places eight-hander will get more outings very soon. If not read the text anyway." --Susan Elkin, The Stage"Brilliantly written... a great evening of thoughtful and dynamic theatre." --Mark Lawson, arts correspondent"The structure and dynamism of the play, the art with which Jonathan Moore makes Ignatius accessible to us, capturing much of the drama of the Spiritual Exercises themselves, would also make I?igo an excellent discovery for schools and colleges." --James Hanvey SJ, Master of Campion Hall, University of Oxford, Thinking Faith Jonathan Moore is an award-winning actor, writer and director. As an actor he has played leading roles at the Royal Shakespeare Co, Royal Court, Donmar, the Royal Exchange and on BBC TV. He has directed theatre and opera world premieres at the Almeida, Donmar, West End, Royal Exchange, Gate, English National Opera, Covent Garden, La Fenice in Venice and on TV among many others. He has directed world premieres by composers such as Turnage, MacMillan, Henze, Schnittke, Nyman, Copeland and more, and his early work was sponsored by Joe Strummer of The Clash. He has collaborated with members of punk band Killing Joke and on several projects with Industrial group Test Dept. A published playwright and librettist, his work has been performed at leading theatres including the Donmar, Royal Exchange, Gate, BBC TV, radio and internationally. Jonathan was asked by Mark Rylance to direct the large-scale immersive project for over fifty performers What You Will, a co-production for Shakespeare s Globe, The Cultural Olympiad and Mayor s Office and several subsequent Shakespeare projects. He is due to direct a large-scale site-specific immersive project for Ludovico Einaudi in Italy and a new opera project with Stewart Copeland. He is on the Artistic Advisory Committee of the Royal Academy of Dramatic Art. He has had a Who s Who entry since 2007. A collection of Moore's plays has been previously published by Aurora Metro Books. www.jonathanmooreuk.com

The city of Serenstad has never been stronger, and superstitions are waning in the light of reason and civilization. For the Guild of Dream Finders this has proved disastrous, until Duke Ibris, troubled by mystifying and unsettling dreams, orders Antyr, leader of the Guild, to become the Dream Nexus. Dream Finder is an independent novel set in the world of The Chronicles of Hawklan". --------------- "This is good grown-up stuff; more please." -- Interzone "Big meaty fantasy." -- Darlington Northern Echo "This is wonderful stuff." -- Brum Group News "

Cartea de fa??, pe care cititorul o ?ine acum ?n m?n?, reprezint? o form? – literar vorbind, foarte complex?, fiindc? ea evolueaz? pe mai multe voci narative, dintre care doar unele ?i apar?in ?n mod direct autoarei – de exorcism. Geniul inimii e r?spunsul unui poet la o experien?? personal? plenitudinar?, ?n care bucuria ?i suferin?a se ?ntrep?trund reciproc pentru a exprima, ?mpreun? ?i tensionat, starea de gra?ie. Exist? o voce a experien?ei biografice ?n aceast? carte scris? febril, o alta de martor sau de participant la istorie, tot a?a cum exist? o voce a puterii ?i una a victimei. Deasupra tuturor st?, ?ns?, nu neap?rat triumf?toare, dar lucid-cerebral?, chemarea celor dou? credin?e pentru care merit? s? tr?ie?ti ?i s?-?i rememorezi via?a atunci c?nd ai ajuns cu ea la r?sp?ntie: credin?a ?n cultura modelelor care te-au precedat ?i credin?a deloc ingenu?, ci ivit? din cunoa?tere, ?n sacralitatea profund? a celor tr?ite ?i ?n transcenden??. (?tefan Borbély) A considera un text drept ?carte a ilumin?rilor mele“ ?i a a?eza ca titlu al primei p?r?i a volumului sintagma Povestea subteranei ne plaseaz? sub semnul aproape imposibil al drumului c?tre Sine, al cuprinderii, al denud?rii ?i al efortului de a ?n?elege un obiect al c?rui adev?r se va afla ?ntotdeauna ?n proximitatea pe?terii lui Platon. E un demers perpetuat, dar niciodat? epuizat ?i aproape exclus din plasma comunic?rii, care – ?n situa?ia ?romanului“ Aurei Christi – nu are coresponden?e, nu se apropie de experien?a budhist?, nici de prerogativele ocultismului de New Age, ci ne aduce ?n vecin?tatea ?ndemnului de pe frontispiciul templului lui Apollo din Delphi, preluat apoi, ca solu?ie ?ntre a fi ?i a p?rea, de c?tre Socrate: ?Cunoa?te-te pe tine ?nsu?i!“. Po?i ?nt?lni, pe acest drum, ?i acel daimonion care a str?juit g?ndirea aceluia?i ?n?elept atenian ca alt? fa?? a ?subteranelor“ fiin?ei, acolo unde lumina se ?ngem?neaz? cu ?ntunericul, stare ?poetizat?“ de Goethe, dar pr?bu?it? ?n tragic de Dostoievski. E o cobor?re spre ?n?elegere prin cuprindere ?i, implicit, prin atingerea nelimitatului. (Mircea Braga) Cartea Aurei Christi Geniul inimii pare o st?nc? masiv?, singuratic?, ?ntr-un peisaj ?mioritic“. Geniul inimii are originalitate ?i for??. Prima parte e liric?, a doua (?ntr-un fel) – o comedie negru-satiric?, a treia – predominant epic-narativ?. Prima parte este excelent?; mi-am ?nsemnat un num?r de poezii memorabile. A doua, ?n centrul ei mai ales, are sec?iuni, pasaje extrem de interesant-pl?cute-amuzante, ?n pofida tonului, uneori, foiletonistic. A treia e impresionant? ?n ansamblu, armonios-coerent?, de o sinceritate sf??ietoare. ?n tot volumul, istoricul, religiosul, subiectivul se leag? foarte frumos ?ntre ele. Nu-mi plac laudele la adresa lui Nietzsche! De fapt, cum se leag? acest autor de Biblie, de Evanghelii?! Aura Christi poate fi m?ndr? de o realizare major?, cu totul original?. Probabil, nu l-a citit pe romanticul britanic Wordsworth; dar el e cel care a scris (sau a ?nceput s? scrie) o memorabil? autobiografie ?n versuri. Pu?ini l-au continuat. Am putea spune c? Aura se num?r? printre cei pu?ini. (Virgil Nemoianu)

Alchimia fericirii, publicat? ?n persan? (Kimiya?yi sa’adat), spre sf?r?itul vie?ii autorului, urm?re?te atenuarea tensiunilor dintre filosofii ?i misticii Islamului ?i scoate ?n eviden?? importan?a autodisciplinei ?i a ascetismului. Traducerea de fa?? are la baz? traducerea publicat? ?n 1910, ?n englez? de Claud Field (The Alchemy of Happiness) ?i este structurat? ?n opt capitole, aproximativ egale ca ?ntindere. Cartea de fa?? reune?te o serie de interpret?ri ale unor pilde cu con?inut religios evocate ?n Coran ?i ale unor idei exprimate de Mahomed, de al?i profe?i sau ?nv??ati musulmani. Chestiunile abordate de Al-Ghazali aduc ?n prim-plan ideea unei vie?i religioase exemplare. Astfel, el prezint? mai multe sfaturi pentru musulmanii pio?i. Raportul omului cu divinitatea, cu semenii s?i, cu rudele apropiate, dar ?i implica?iile religioase ale institu?iei c?s?toriei sau ale muzicii ?i dansului sunt printre cele mai importante subiecte din lucrarea lui Al-Ghazali. S? ?tii, o, preaiubite, c? omul nu a fost creat ?n glum? sau la ?nt?mplare, ci a fost f?cut ?ntr?un fel minunat ?i pentru un ?el ?nalt. Chiar dac? nu a existat dintotdeauna, el tr?ie?te ve?nic; ?i chiar dac? trupul s?u este slab ?i p?m?ntesc, spiritul ?i este m?re? ?i dumnezeiesc. ?i cu c?t este mai ales subiectul cunoa?terii noastre,cu at?t mai mare va fi ?nc?ntarea sim?it? ?n studierea acestuia; de exemplu, ne?ar face mai mult? placer s? ?tim secretele unui rege dec?t dac? am afla secretele unui ministru. V?z?nd c? Dumnezeu este cel mai ?nalt obiect posibil pentru cunoa?terea noastr?, cunoa?terea Sa trebuie s? ne d?ruiasc? mai mult? desf?tare dec?t oricare alta.

Urm?nd acela?i tipar de p?n? acum (Logica elefan?ilor, Editura All, 2012), Ciprian V?lcan ?i Dana Percec au selectat c?te dou?zeci de eseuri care formuleaz?, ?ntr-o manier? doar aparent lejer?, un r?spuns la tot at?tea pretexte, culese cu ochiul colec?ionarului de caricaturi din presa rom?neasc? ?i interna?ional? sau din tomuri mai mult sau mai pu?in colbuite. Autorii inspecteaz? cu lupa ?i curiozitatea entomologului numeroase ?nt?mpl?ri, mesaje ?i personaje contemporane, ?ndemn?ndu-i pe cititori, prin stilul degajat ?i tonul convivial, s? se amuze pe seama absurdului din via?a de zi cu zi. Fie c? este vorba de politic?, sport, mod?, mass-media sau tribunale, de gastronomie sau vr?jitorie, eseurile demonteaz? adev?ruri mici, truisme, precum ?i pl?smuiri de tot felul. Fiec?rei p??anii evocate ?n pretext – unele ilare, cu miros de b?lci, altele aproape detestabile – autorii Metafizicii bicicli?tilor ?i r?spund ?n manier? diferit?, dar convergent?, contur?nd o nevoie de a r?scoli excesele lumii pentru a o ?ndemna s? se rea?eze.

Nietzsche despre filologia clasic? – iat? un subiect cu adev?rat pasionant, prilej de satisfac?ii unice pentru amatorul de a urm?ri fascinantul spectacol al form?rii ?i al cunoa?terii de sine. C?ci acest subiect ?nseamn?, de fapt, Nietzsche despre el ?nsu?i ?i ?n acest sens pledeaz? chiar propria sa m?rturie – ?Filologii sunt asemenea oameni care folosesc sentimentul ap?s?tor pe care ?l provoac? infirmitatea proprie omului modern pentru a c??tiga cu el bani ?i p?ine. ?i cunosc, eu ?nsumi sunt unul dintre ei“ (Noi, filologii, fr. 170). Mai precis, este vorba despre o ipostaz? a personalit??ii spirituale nietzscheene considerat? din unghiul evolu?iei sale interioare; dar, nu o ipostaz? oarecare, ci una esen?ial?. ?i aceasta nu pentru simplul motiv c? este cea dint?i, ci pentru c? este cea mai profund?, cea care i-a marcat definitiv orizontul de cultur? ?i de g?ndire ?i a l?sat o amprent? durabil? ?n desf??urarea destinului personal al omului. (Vasile Musc?)

本书作者依据其独创的思想构境理论这样一种新的文本解读方式，破了以往那种用传统哲学解释框架反注列宁思想的研究方法，真正诚实地从列宁当时所处的政治与学术争论语境出发，拟现了列宁的读书思路，探讨了列宁理解和发展唯物辩证法思想程中的重要逻辑转变和飞跃性认识的深层意义，揭示出列宁的“哲学笔记”其实是一部经过编辑加工的学术“混成品”，并对其中各个部分尤其是对列宁在一战爆发之际关于黑格尔的哲学笔记行了卓越的解读。

本书是坎贝尔本人写作、选编的zui后一本书，收录了他1981—1984年间在旧金山发表的4篇演讲文章，概括了坎贝尔在科技高速发展、人类已经实现航天登月、普遍不相信神话的现代社会，对神话的全新诠释和理解。是zui贴近现今读者所处时代和心理特征的一本书，也是坎贝尔的哲思精华“心学”之作：以神话连内心与外界、过去与未来，对“天人合一”理念的深刻阐释。 坎贝尔通过三章的内容，论证了神话与科技的关系、人类心理与外太空法则的关系；书写了属于我们这个时代的新的神话，为技术与科技提供新的解读视角。读者可以认识到，人的内心与外在时代、境遇密不可分，而艺术作为现代生活中的神话形式，就是一面处在内外交界处的镜子。透过这面镜子，我们可以参透过去，预测未来。

      二十世纪初，梁启超（任公）先后编纂了三种关于传统的修身方面的书。此三书既是梁启超本人用以自修的随身札记读本，也是任公用以推行公民德育的指导书。考虑到梁氏编纂这三种书思路的连贯性和紧密性，取名“梁启超修身三书”。           其中《节本明儒学案》是节录《明儒学案》中的修身言论而成，但此书绝非是原书的简略本。《明儒学案》现在学界和读者一般是把它当做学术史著作，或者是资料的汇编来使用，而黄宗羲原来的目的之一“示读者以道之门”（梁氏语）则湮没不彰，梁氏编这本书的用意正是将原书变成一部修身指导书，可以说，已经是与《明儒学案》面目不同的另一本书。另外，节本只有二十七八万字，与原书的卷帙浩繁相比，也大大增强了可读性。    

马克思恩格斯思想比较研究是随着“马克思恩格斯问题”的提出而兴起和发展的。“马克思恩格斯问题”是指马克思与恩格斯的关系问题，包括马克思与恩格斯之间的思想关系问题、文本关系问题和生平交往关系问题。该书主要研究三个方面的重要问题：，包括马克思恩格斯思想比较研究是随着“马克思-恩格斯问题”的提出而兴起和发展的。新世纪，马克思恩格斯思想的比较研究正在成为国内马克思主义理论研究的热点。本书在详细梳理和解读国内外马克思与恩格斯思想关系研究的有关文献的基础上，依据文本，对马克思与恩格斯的思想关系、文本关系和生平交往关系进行了深入分析，特别是对马克思与恩格斯的自然观、辩证法、历史观、经济学思想、资本主义观、社会主义和共产主义观、革命观等进行了比较，从学术上进一步明确揭示了马克思与恩格斯思想之间的继承与发展、一致与差异、坚持与修正、提出与阐发等多重复合关系。

袁黄（1533-1606），初名表，后改名黄，字庆远，又字坤仪、仪甫，初号学海，后改了凡，后人常以其号了凡称之。袁了凡是明朝重要思想家，是迄今所知中国位具名的善书作者。他的《了凡四训》融会禅学与理学，劝人积善改过，强调从治心入手的自我修养，提倡记功过格，在社会上流行一时。

《近思录》是南宋朱熹、吕祖谦二人精选北宋理学大家周敦颐、程颢、程颐、张载的语录而成的一部理学门书，又是学习《四书》的阶梯。在儒学思想传播和宋明理学研究中具有独特的经典地位。本书原为大学经典丛书中的一种，现收国学典藏丛书，按照丛书统一格式，删去页边批注，形成较为简明易读的传习录普及版本。根据“国学典藏”的体例，删去集评；附录中选取一二种保留，其余删去；改写导读；改正错误，请整理者重新校订。

《论人类不平等的起源和基础》因其学术地位和内容影响，成为国内各大本科院校社会学、法学、伦理学专业的名著。 本书被称为法国大革命的灵魂，是法国著名启蒙思想家、哲学家卢梭整个政治学说的导言。奠定了西方社会形态的著作《社会契约论》正是在本书的基础上深论而写成。在《论人类不平等的起源和基础》一书中，卢梭一方面借助当时有关野蛮人的人类学资料，一方面展辩证的想象，回顾了人类从自然状态向社会状态过渡的历史程，为社会学研究、法学发展研究、伦理学研究提供了基础，是学术名著中公认的不朽经典，也是人文科学爱好者*值得收藏的作品之一。

作为“西方马克思主义”思潮的创始人，卢卡奇深刻参与到中国马克思主义理论形态和学术形态的当代重塑过程。《卢卡奇研究指南》（三卷本）精选近半个世纪以来英语、德语、俄语、法语等学界有关卢卡奇的经典研究论述，系统展现卢卡奇各个思想发展阶段、各个思想发展维度的国际学术共识，努力为国内卢卡奇研究提供坚实的学术支撑。《卢卡奇研究指南》三卷本分别对应卢卡奇早、中、晚期的思想，卷聚焦卢卡奇的早期思想，第二卷主要讨论卢卡奇影响的著作《历史与阶级意识》，第三卷主要探究卢卡奇中、晚期理论著作。

梁启超在曾国藩去世第二年出生，早年就对曾国藩推崇备至，认为曾国藩是中国历史上难得一见的经世致用人物，自己也把他的作品视作每天的书。1916年，梁启超辑录曾国藩实用、容易记诵的名言，编成《曾文正公嘉言钞》一书。 金句展示 敬字恒字两端，是彻始彻终工夫，鄙人生平欠此二字，至今老而无成，深自悔憾。 心常用则活，不用则窒，如泉在地，不凿汲则不得甘醴，如玉在璞，不切磋则不成令器。 前曾语阁下以“取人为善、与人为善”。大抵取诸人者，当在小处实处；与人者，当在大处空处。 治心治身，理不必太多，知不可太杂，切身日日用得着的，不过一二句，所谓守约也。 骄、惰未有不败者。勤字所以医惰，慎字所以医骄。此二字之先，须有一诚字，以立之本。 吾辈读书人，大约失之笨拙，即当自安于拙，而以勤补之，以慎出之，不可弄巧卖智，而所误更甚。 词气宜和婉，意思宜肫诚，不可误认简傲为风骨。风骨者，内足自立、外无所求之谓，非傲慢之谓也。 以勤以本，以诚辅之。勤则虽柔必强，虽愚必明。诚则金石可穿，鬼神可格1。 君子欲有所树立，必自不妄求人知始。 朱子言为学譬如熬肉，先须用猛火煮，然后用慢火温。予生平功夫，全未用猛火煮过。虽略有见识，乃是从悟境得来，偶用功，亦不过优游玩索已耳，如未沸之汤，遽用慢火，将愈煮愈不熟矣。 用功譬若掘井，与其多掘数井，而皆不及泉，何若老守一井，力求及泉，而用之不竭乎？

　　本书首先涉及伦理学中的化论、价值论、义务论、代价论、成效论、律令论、功利论、幸福论、实然、应然与能然的关系理论，如此等等。同时也涉及到例如社会政治理论中的“权力”和“强力”、“共同体”与“社会”等等概念范畴。例如第五篇第6章中对“自身谋杀”的讨论，对“宽恕”的讨论，对“良知”的讨论，对“责任”的讨论，都丝毫不逊于诸如涂尔干、德里达等等当代思想家。第五篇第9章中对“需求”的分析更可以被看作是现象学描述的典范。

作为“西方马克思主义”思潮的创始人，卢卡奇深刻参与到中国马克思主义理论形态和学术形态的当代重塑过程。《卢卡奇研究指南》（三卷本）精选近半个世纪以来英语、德语、俄语、法语等学界有关卢卡奇的经典研究论述，系统展现卢卡奇各个思想发展阶段、各个思想发展维度的国际学术共识，努力为国内卢卡奇研究提供坚实的学术支撑。《卢卡奇研究指南》三卷本分别对应卢卡奇早、中、晚期的思想，卷聚焦卢卡奇的早期思想，第二卷主要讨论卢卡奇影响的著作《历史与阶级意识》，第三卷主要探究卢卡奇中、晚期理论著作。

作为“西方马克思主义”思潮的创始人，卢卡奇深刻参与到中国马克思主义理论形态和学术形态的当代重塑过程。《卢卡奇研究指南》（三卷本）精选近半个世纪以来英语、德语、俄语、法语等学界有关卢卡奇的经典研究论述，系统展现卢卡奇各个思想发展阶段、各个思想发展维度的国际学术共识，努力为国内卢卡奇研究提供坚实的学术支撑。《卢卡奇研究指南》三卷本分别对应卢卡奇早、中、晚期的思想，卷聚焦卢卡奇的早期思想，第二卷主要讨论卢卡奇影响的著作《历史与阶级意识》，第三卷主要探究卢卡奇中、晚期理论著作。

《论人类不平等的起源和基础》因其学术地位和内容影响，成为国内各大本科院校社会学、法学、伦理学专业的名著。 本书被称为法国大革命的灵魂，是法国著名启蒙思想家、哲学家卢梭整个政治学说的导言。奠定了西方社会形态的著作《社会契约论》正是在本书的基础上深论而写成。在《论人类不平等的起源和基础》一书中，卢梭一方面借助当时有关野蛮人的人类学资料，一方面展开辩证的想象，回顾了人类从自然状态向社会状态过渡的历史进程，为社会学研究、法学发展研究、伦理学研究提供了基础，是学术名著中公认的不朽经典，也是人文科学爱好者值得收藏的作品之一。

重拾中西方古典学问坠绪，不仅因为现代性问题迫使学问回味古典智慧，更因为古典学问关乎亘古不移的人世问题。古学经典需要解释，解释是涵养精神的活动，也是思想取向的抉择：宁可跟随柏拉图犯错，也不与那伙人一起正确(西塞罗语)。举凡疏证诠解中国古学经典，移译西学整理旧故的晚近成果，不外乎愿与中西方古典大智慧一起思想，以期寻回精神的涵养，不负教书育人的人类亘古基业。

老庄思想无论作为一种生活方式或哲学理论，都已成为特殊风格的人类公共文化资产。作为一种生活方式，如今儒道两家已成为中国文化之表层结构和深层结构的代表；作为一种哲学理论，则道家更成为古典哲学在体系建构上的主体思想。作为一种生活方式，必有其理论的说明，本书乃基于后者而呈现给学界人士的。 《老庄新论》一书，是陈鼓应教授对老子与庄子研究的力作。作者的研究方法与学术观较为新颖，且多有独到之处，如提出道、儒、墨、法互补与文化多元化的观，在学术界引起很大的回响。本书由老子文集和庄子文集两大部分组成，贯穿了作者多年研治老庄学说的心得及见解，有较高的学术水平，对研究中国传统文化有较大的参考价植。 　　这本文集取名《新论》，主要是由于作者在这些年来的研究中，提出了一些有异于一般学界的观： ，认为老、庄所创始的道家是中国哲学的主干。第二，中国传统哲学的主要概念和范畴，多渊源于道家。第三，老学先于孔学，老子与孔子的师友关系，先秦典籍多有记载。第四，老子的思想视野和哲学的深度远胜于孔子。第五，前些时，学界讨论“儒道互补”的问题，并提出“以道补儒”的学法。第六，庄子对于时代的灾难有痛切的体会，对于知识分子的悲剧命运有敏锐的研究，正因为如此，他的声音直到今天还能得到无限的共鸣。第七，传统观与目前学界的看法，都以老、庄尤其是庄子为消极，并且这种看法颇含贬义。